- Alberto Magnolfi, Modelli di protomadrigalismo nel repertorio di Sebastiano Festa. Abstract.
- Maurizio Padoan, Dalla 'Potentia auditiva' all'universal genio de' spettatori. La ricezione della musica nel pensiero teorico tra Rinascimento e Barocco (II). Abstract.
- Amalia Collisani, Ironia romantica, 'stile classico', rappresentazione. Abstract.
- Simone Ciolfi, Idea e strategia del dramma in 'Job' di Luigi Dallapiccola. Abstract.
- Warren Kirkendale, La favola della 'nascita dell'opera' nella Camerata fiorentina demitizzata da Emilio de' Cavalieri
- L. Lombardi, Desiderio e paura della libertà: Arnold Schönberg a cinquant'anni dalla morte
- (M. de Angelis) 'Cantate Domino'. Musica nei secoli per il Duomo di Firenze, a cura di Piero Gargiulo, Gabriele Giacomelli, Carolyn Gianturco, Firenze, EDIFIR, 2001
- (S. Dieci) 'Quel novo Cario, quel Divin Orfeo'. Antonio Draghi da Rimini a Vienna, atti del convegno (Rimini, 5-7 ottobre 1998), a cura di Emilio Sala e Davide Daolmi, Lucca, LIM, 2000
- (E. Fubini) Lorenzo Lattanzi, L'estetica musicale dell'Illuminismo tedesco, Palermo, Centro Internazionale Studi di Estetica, Aesthetica Preprints, 2000
- (C. Lo Presti) Sergio Sablich, L'altro Schubert, Torino, EDT, 2002
- (A. Collisani) Laura Cosso, Strategie del fantastico. Berlioz e la cultura del romanticismo francese, Alessandria, Edizioni dell'Orso, 2002
- (S. A. Perotti) Giorgio Pestelli, Canti del destino. Studi su Brahms, Torino, Einaudi, 2000
- (L. Sirch) La romanza italiana da salotto, a cura di Francesco Sanvitale, Torino, EDT – Istituto Nazionale Tostiano, 2002
- (M. Gervasoni) Irene Piazzoni, Spettacolo, istituzioni e società nell'Italia postunitaria (1860-1882), Roma, Archivio Guido Izzi, 2001
- (C. Migliaccio) Erik Satie e la Parigi del suo tempo, a cura di Gianmario Borio e Mauro Casadei Turroni Monti, Lucca, LIM, 2001
- (F. Spampinato) Luca Marconi, Musica espressione emozione, Bologna, Clueb, 2001
- (M.G. Sità) Canoni bibliografici, atti del convegno internazionale iaml-iasa (Perugia, 1-6 settembre 1996), Contributi italiani, a cura di Licia Sirch, LIM, Lucca, 2001
- (M. Gozzi) Sub tuum praesidium confugimus. Scritti in memoria di Monsignor Higini Anglès, a cura di Francesco Luisi, Antonio Addamiano, Nicola Tangari, Roma, Pontificio istituto di musica sacra, 2002
- (P. Gargiulo) Claudio Gallico, Sopra li fondamenti della verità. Musica italiana fra XV e XVII secolo, Roma, Bulzoni, 2001
- (P.Gargiulo) Edizione Nazionale delle Opere di Andrea Gabrieli -1585. I Testi poetici. Edizione critica e fonti letterarie, a cura di Mila De Santis, Milano, Ricordi, 2001 (P. Gargiulo)
- (C. Fiore) Giovan Battista Bartoli, Il Primo Libro de' Madrigali a cinque voci, edizione critica a cura di Donatella Righini, Firenze, SISMEL Edizioni del Galluzzo et al., 2001
- (M. Toffetti) Antonio Brunelli, Arie, scherzi, canzonette, madrigali a una, due e tre voci per sonare e cantare (1613), a cura di Marco Mangani, Pisa, ETS, 2001
- (L. Bramanti) Libro di fra Gioseffo da Ravenna (Manoscritto I – RAc MS Classense 545), a cura di Silvia Rambaldi e Barbara Cipollone, prefazione di Paolo Fabbri, Bologna - Roma, 1999
Modelli di protomadrigalismo nel repertorio di Sebastiano Festa
Though hardly abundant (there are just eleven pieces for four voices), Sebastiano Festa's secular production represents an important moment in the passage from the frottola style to that of the nascent madrigal. With their specific dynamic qualities (affecting all the voices, each duly supplied with a complete text) and their alternation of homorhythmic and imitative procedures, these works anticipate the equal treatment of every line that is generally viewed as a prerogative of the new genre. Crossings, changes of register and bicinia combinations also help to enrich the variegated contrapuntal texture and enhance the expressive capacities of the musical setting. Through comparison with more manifestly acknowledged proto-madrigalistic models, the article aims to examine the technique and style of a composer who was by then far removed from the frottola idiom, and who instead resorted to compositional formulae that make his work more closely resemble that of the better-known Costanzo Festa and the better-studied Pisano and Verdelot. Indeed, the presence of one of his compositions, presumably written already in the first decade of the century, in the printed collection Motetti e canzone libro primo of 1521, is evidence of some form of chronological precedence and suggests that the above composers may have submitted to Sebastiano's influence during their stays in Rome between 1520 and 1530 – the very period the madrigal first flourished in Florence.
Dalla 'Potentia auditiva' all'universal genio de' spettatori. La ricezione della musica nel pensiero teorico tra Rinascimento e Barocco (II)
In this second part of this study, the focus is above all on the strong convergence between poetics and music in the final decades of the 16th century. It is a profound interrelationship that develops fundamentally within the context of the effects of music on the soul. Apart from Francesco Patrizi's interesting contribution on the symbolic importance of music and poetry, it is the writings of theorists like Lorenzo Giacomini, Francesco Buonamici and Pomponio Torelli that define the premises that lie at the basis of the aesthetic ideas of the dramma in musica. The element creating what can be viewed as a shared universe of “discourse” is above all their marked stress on psychological effect, which can be determined by either reading or listening. A decisive role in this manifest concurrence of opinions is played by the ideas of Girolamo Mei, which introduce a fertile mediation between poetics and music.
More specifically on the theme of reception, the study then tackles the role of the public in the early Baroque. It stresses how the elitist positions voiced by exponents of the Florentine Camerata were superseded by writers such as Bottrigari and Banchieri, who pronounced in favour of an art that might delight “universally all listeners” or might bring “delight to the greater part” of them. In the light of these statements, it is not surprising that certain theorists – though closely associated with the humanistic tradition – should stress the audientis disposizio (Kircher) and the need to resort to artifice to gratify the eyes and ears of the spectators (Doni).
The ideas of Kircher and Doni lay bare an evident tension between humanistic assumptions and Baroque inclinations. It was a tension that was to find a solution (in the first half of the 17th century) only in the realm of practice, where the dominant features were conspicuous artifice and the seduction of an increasingly demanding public. The triumph of this new paradigm – the pursuit of spectacle – is emblematically expressed by Giacomo Badoaro when he asserts the need to satisfy “the universal genius of the spectators”. It is a need that can essentially be attributed to a poetic vision in which adherence to contemporaneity is an inescapable assumption.
Yet it is important to note that this rebellion against the conditionings of the classical rules is not a completely new theoretical approach. As is confirmed by the positions contrary to the Aristotelian precepts expressed by various authors of the preceding century: including Bruno, Guarini, Ingegneri, Malatesta and Michele.
Ironia romantica, 'stile classico', rappresentazione
The Romantic definition of “irony”, as deduced from Friedrich Schlegel's Fragments and Solger's Lectures on Aesthetics, has many points in common with the “humour” that Jean-Paul indicates as an essential component of the “Romantic comic” in his Vorschule der Ästhetik: a quality that is philosophical rather than rhetorical; a kind of paradox; an ambiguity in the use of representation, with part-involvement and part-detachment. What distinguishes irony and humour for the Romantics, and also later right down to Pirandello and Jankélévitch, is the nothingness in which irony also plunges the self (until its inevitable resurrection); humour, on the other hand, in spite of the bitterness, always ends up by dissolving into a smile. The ideal place of irony (or of the humour that is similar to it) is naturally art, and the instruments used to express it are fragmentation and those stylistic shifts that traumatically shape the artistic idea and trigger that wavering of thought that we call paradox.
Thanks to the harmonic strategies of the tonal system and the formal articulations of the 'classical style', the instrumental music of the late 18th century can establish itself as a mirror of subjective intimacy. The level of simulation is the highest and most unsettling that can be reached: one that involves in its unfolding not only the world and the idea, but also the self. Hence the fact that the Romantics speak of Haydn, Mozart and Beethoven as “true humourists” is due neither to chance nor even to a misunderstanding. It is above all in Mozart's three great Italian operas that we find both the idea of representation, with its ironic ambiguity of deception and revelation, and the use of the classic style as a simulation of the new role played by the artist's self. This viewpoint – the author of the article suggests – adds yet another small piece to the hermeneutic mosaic that accounts for their unequalled appeal.
Idea e strategia del dramma in 'Job' di Luigi Dallapiccola
Luigi Dallapiccola's chamber opera Job, una Sacra Rappresentazione, a work commissioned by the Anfiparnaso association of Rome and composed in the summer of 1950, appears to have received little musicological attention. Overshadowed by the fame of both Il Prigioniero (1949) and Ulisse (1968), the dramatic and musical value of Job, Dallapiccola's first dodecaphonic theatre work, has been somewhat underrated. The present article, the first in Italian on the subject, takes its cue from the composer's correspondence on the opera, and makes use of the material preserved in the Archivio Contemporaneo “A. Bonsanti” of the Gabinetto Vieusseux in Florence. From the hitherto unpublished epistolary material, Dallapiccola vividly emerges as deeply engaged in fulfilling the ethical and cultural mission that he considered composition to be. While the musical ideas appeared to pour out from a mysterious source, daily routine seemed to conspire against him, involving him in a conflictual relationship with reality. His letters, therefore, are highly charged with tension: the same tension that pervades the music in the opera. In the second section the author successfully tracks down the bibliographical sources of the libretto, by resorting not only to the collection left to Bonsanti by Dallapiccola, but also to the Bibles and commentaries on the Book of Job in the Biblioteca Nazionale of Florence. From the composer's choices one deduces that the idiom he aimed to give the Biblical story was a rhythmic prose in which symmetries and sonorities impart a mythical and ritual aura to the text. The musical analysis of the third section shows that Job was the first work in which Dallapiccola's derived series were constructed on the interval pattern of the groups obtained by subdividing the fundamental series into three-note segments: a feature that makes the opera an important technical stepping-stone towards the composer's works of the future. His means of animating the psychological development of his characters is to adopt dramatic and musical strategies that exploit the particular timbres and sonorities and the specific rhythmic and harmonic formulae that underpin the work's structure. In this way he generates a dodecaphonic style that evokes sensations of great complexity and appeal.